As composer Lyadov is connected with Novgorod Earth. BUT

Anatoly Ladova's brief biography will talk about the life and work of the Russian composer and Conductor.

Lyadov Anatoly Konstantinovich Brief biography

Born in Petersburg May 12, 1855in the family of the conductor of the Russian opera Konstantin Lyadov. The boy often visited his father, the Variinsky Theater, who became a real school for him. He knew the entire opera repertoire. And in the young years he himself participated in performances.

Since childhood, Lyadov showed interest in music, drawing and poetic creativity. His aunt, the famous pianist V. A. Antipova, gave him lessons. However, the early loss of mother, bohemian life, the lack of parental caress, love and care did not contribute to the development of his personality as a musician.

In 1867, the young man enters the St. Petersburg Conservatory, receiving a personal, honorary scholarship name of his father. The first 3 years, the future composer of Lyadov Anatoly Konstantinovich is trained in A. A. Panova, the class of violin, at A. I. Rubats visits the theory. In addition, he took the lessons of playing the piano at A. Dubasov and F. Beggrov. In the fall of 1874, it falls to the class of composition. The teacher immediately noticed the talent of the young Lyadov, describing it as "talented indefunctly." Being a student, Anatoly Konstantinovich became interested in the genre of Romance. However, very quickly lost interest to him, as well as to study. He did not appear for the first exam for Roman-Korsakov and in the middle of the school year they were excluded from the Conservatory.

While learning at the conservatory, Lyadov entered the Commonwealth composers "Mighty Hand". Here he met Borodin, Stasov, inheriting from them the devotion to Art. In the end of 1876, it cooperates with Balakirev in the preparation of a new edition of the opera partitions. After they became best friends.

In the same 1876, a 20-year-old composer created the original cycle "Biryulki". Realizing the importance of learning for himself as a musician, Lyadov in 1878 applies to enroll him in the conservatory. In May, in the final exams, he completely rehabilitated. Anatoly Konstantinovich finished a conservatory with brilliance, submitting the execution at the professional level Kantatu "Messinsky Bride" Schiller as a thesis.

In 1878 he was invited to a conservatory as a professor as he remained until the very death. Since 1884, he teaches in the instrumental classes of the court chapel. Pedagogical activities occupied a lot of time, and writing works was almost no time. In a year, 2-3 essays came out from under his hand.

In the 1880s, an experienced composer enters the union of Petersburg musicians, Belyaevsky Circle. Together with the glazunov and Roman Corsakov, he took a leading position in it. They were engaged in selection, editing and publishing new essays.

At the end of 1880, Lyadov declared itself as a master of miniatures. In 1898, published the first collection of "Russian people's songs for one vote with the escorting of the piano." A year later, he visited the World Art Exhibition in Paris, where his writings were performed.

Since 1904, he was engaged in the Board of Trustees for the promotion of Russian composers and musicians. The last work of the author was called the "sorrowful song". The death of friends, war, the creative crisis had a considerable effect on the state of the health of the composer.

Anatoly Konstantinovich died August 28, 1914 in the estate near Borovichi from heart disease and bronchitis ..

Family enterprise Lyadova: "Preludes-Reflections", "Children's Songs", "Eight Russian People's Songs for Orchestra", "Kimikors", "From Apocalypse", "Baba Yaga", "Magic Lake", "Keshe", "Amazon Dance".

Fabulous world Anatoly Lyadova

Music fate A. K. Lyadov at first was very happy: he was born on April 29, 1855 in the family of hereditary musicians. Father and grandfather His conduits were conducted, the father is also a composer. The authority of the dad as an opera conductor (he was a dropmaster of the Russian opera in St. Petersburg, conductor of symphony concerts) was very large. Even M. I. Glinka in some questions was advised to him. The election of the musician profession for Anatoly and his family was a matter of solved. Father still in early childhood noticed a great dating son.

At the age of 15, Anatoly Lyadov entered the conservatory. He was enrolled on the scholarship named after Konstantin Lyadov (his father), established by artists of the Russian opera.

Anatoly began engaging in the classes of piano, theory and compositions. Among his teachers - N. A. Rimsky-Korsakov.

For the formation of his talent, a major role was played by communication with M. A. Balakirev, A. P. Borodin, M. P. Mussorgsky, highly estimated by his giving. M. P. Mussorgsky wrote: "A new, undoubted and Russian talent appeared." And the young "talent" at that time was only eighteen. The first opres of the young composer were four romances, as well as the cycles of the piano plays "Biryulki" and "Arabesque", which immediately became known in the circle of musicians. But the doctrine in the conservatory was not smooth.

Dating A. K. Lyadova was great. His teacher N. A. Rimsky-Korsakov considered him "extremely talented", but a negligible student. About A. K. Lyadov said that when he lived in the house of his sister, he himself asked not to feed him with dinner until he fulfilled conservative tasks. Classes he visited badly. And in the winter of 1876, he was excluded from the Conservatory along with his friend - Talented Pianist G. O. Dutsh. When young people came to N. A. Rimsky-Korsakov home with a request to engage in recovery and promise, the professor remained adamant: "I was unshakable and refused flat. Where does it ask, attacked me such impassive formalism? Of course, Lyadova and Dutsha should have taken as prodigal sons ... But I did not. It is possible to work out that everything for the better in this light, - and Dutsch, and Lyadov later became my friends. "

The exception from the conservatory was a heavy blow for A. K. Lyadov. But in two years he was restored. Cantata presented on the exam corrected the artistic council. And he was awarded a small gold medal and a diploma of a free artist. Immediately after that, the twenty-three-year-old composer was enrolled in the preservatory teachers.

Among the students, A. K. Lyadov were N. Ya. Myaskovsky, S. S. Prokofiev, S. M. Makapara and others. Famous pedagogical aphorisms were transferred to the students "by inheritance" from the elder to the younger. "The hearing is thinking, developing auditory thinking", "It is necessary to be an aristocrat of feelings and tastes," so he spoke to the disciples. You also remember these words and try to follow them. Of course, not all his disciples were so talented as listed.

And work in the conservatory took a lot of strength and energy. But he could not leave her and completely devote himself to creativity. In the poetic "message to a friend" A. K. Lyadov with his characteristic humor, but also wrote with some sadness:

Already the summer was knitted!
So the days of the day and run ...
For a short live here, it remains here -
Again for hated labor.
To teach girls, boys,
The patience should be surplus
And I'm tired for a long time
Stretch a year whole all one.
As pity who explains
Deaf sound, blind color.
By God, there is no place in this!
Only time is losing time.
I'm going to this case -
My sad fate.

In St. Petersburg, A. K. Lyadov met M. P. Belyaev and joined the new numerous artistic association - Belyaevsky mug. The value of the composers of the Belyaevsky Commonwealth was not only in their new creative achievements, but also in huge educational work that strengthened high musical professionalism in Russia.

According to N. A. Rimsky-Korsakov, "Balakirev's circle corresponded to the period of" storms and onslaught "in the development of Russian music, the circle of M. P. Belyaeva - the period of a quiet procession forward."

During these years, A. K. Lyadov has created a huge number of piano miniatures, the program play "Bagatel", "Musical Tabackerka", "About Starin", etc., "Children's songs", processing folk songs.

One of the best miniatures by A. K. Lyadova "Music Tabackerka". With what witness the composer imites the sounding toy toy in it. The author gave the miniature the only designation: "Automaticamente", that is, "automatically". Rhythmic monotony, repetition of unpaired waltz, "glass" soundness, thin-fitted forms typical for "music box" and trills transmit a special mechanical nature of music.

"And how is it so cute in" tobackerka ", when suddenly something rustles or sneezes! Oh, how cute, ah, how comical and graceful! " - wrote V. V. Stasov Lyadov after the execution of "Tabakcoque" in the author's edition for a small instrumental composition.

Very characteristic of A. K. Lyadova Piez "About Starin". Already at first sounds, the image of the ancient Russian singer accordion arises. In a barbell chime - a little modified genuinely, the People's Melody "Side, Belt, Uncoops." Later, A. K. Lyadov shifted this play for the Symphony Orchestra and predicted the epigraph from the "Word about the regiment of Igor": "We say, brethren, a tale from the times of Vladimirovy Ancients."

The revolutionary events of 1905 shook him. In protest against the dismissal of N. A. Rimsky-Korsakov, A. K. Lyadov and A. K. Glazunov left the conservatory. For forced departure from the Moscow Conservatory S. I. Taneyeva, A. K. Lyadov responded to the "open letter" in the newspaper: "Dear Sergey Ivanovich! With deep regret, I learned from newspapers that you are forced to leave the Moscow Conservatory. But I did not regret you, I feel sorry to the conservatory, which in the face you lost an indispensable professor, a wonderful musician and a bright, pure person, always ready to stand it is relatively ready. You are the Golden Page of the Moscow Conservatory, and a draw hand is not able to snatch it. Deeply self-respecting en. Lyadov. "

V. V. Stasov, having learned about it, wrote in admiration: "Cute little bravery, just yesterday I learned your letter to S. I. Taneyev in Rusi. You do not know me, as you delight. These are people, these are artists. " Only after the election by the director A. K. Glazunov and the return of N. A. Rimsky-Korsakov returned to the conservatory and A. K. Lyadov.

1900s. There were a period of a huge creative heyday of the composer. During this period, he created a symphony cycle "Eight Russian People's Songs for Orchestra" and wonderful program miniatures "Baba -Yaga", "Magic Lake", "Kimor". They expressed their search for the composer of the ideal in the art of unearthly. The fairy tale is that "clearance" to another life, manifested by the artist who faded from the ordinary in his dream.

"Fabulous pictures", as the composer called these works, are one-piece symphonic plays. Bright painting, "pictureness" of the plan led to the painfulness of all expressive means.

"Kimikor" has a program: "Lives, growing at Kikimor in the Kudesman in the Stone Mountains. From morning to evening, Kikimaro Cote Bayun, Kikimaru, says fairy tales of overseas. From the evening to Beara Light, Kikimaru in a crystal cradle is swing.

Exactly seven years old, kikimor grows. Tonshönka, Chernoshenka, the kimair, and her head is small-male, with thimble, and do not know with solomina torso. Knocking, threatening kyimor from morning to evening; whistles, kicks away from the evening until midnight; From midnight to Belas Light spins a Cudel Condel, heats the yarn hemp, swears the base of silk. Evil on the mind holds a kikimor for all honest people. "

The music of thumbnails draws a sump edge, where at first Kikimor lives, Cota-Bayun with his lullaby song, and the ghostly sound of the "crystal cradle".

But what an evil paints the music of Kikimmore itself! She expresses not only her deformity, but also the inner essence of Kimor, ready to destroy all the living. The play is ends with a plaintive peak of Piccolo flutes, as if someone jokingly destroyed, crushed the source of this big noise. This play must be sure to listen.

Close of "Kimor" in the plot and "Baba Yaga". From the fairy tale of Afanasyev "Vasilisa lovely" the composer chose the most dynamic episode: the appearance of Yaga, her flight through a dense forest on a stupe and disappearance. The music accurately depicts the details of this program: whistle jagi, and then a rapid movement, as if Baba Yaga approaches us, and then carries away. Listen to this miniature too. Swiftness, flight, humorous is allowed to call it a Russian symphonic screech.

By the way, this figurative sphere is a scratic, humorous - was close to A. K. Lyadov. Huge material for the characteristics of his humor give albums of his drawings and three notebooks poems. He was a good poet and could immediately, in a conversation, to compose a small pun, epigram, congratulations. His letters to friends almost always contained poems. For example, living in the country, in one letter he complained about the heat in the quatrain:

Oh, why I'm not a skeleton!
The wind in the ribs would play
I didn't know the heat
And shame that is not dressed.

If "Baba -Yaga" and "Kimor" are close to color, then the "magic lake" has a completely different character. It was one of the few works of A. K. Lyadov, which he himself loved: "Oh, how I love him! How it is art, purely, with stars and mysteriousness in the depths! "

In this play, the composer wanted to emphasize that this is not so much sketching from the nature of some particular lake (although it existed, and A. K. Lyadov often walked to him in his pusher), how much the mysterious lake, in which the fantasy of the artist could see The most unusual things. "Magic lake" is not a fairy tale itself, but a state in which a fairy tale may be born.

Of course, by the breadth of reality, the creativity of A. K. Lyadova is inferior to his great contemporaries. But the composer took still a prominent place in the history of Russian music. He contributed to all the areas of music affected by him.

The features of the new original style were also manifested in his piano plays, and especially in symphony miniatures who opened a new independent line in Russian Simphonism.

Questions:

1. Name the years of life A. K. Lyadov.
2. What city is the activity of the composer?
3. How A. K. Lyadov responded to dismissal from the St. Petersburg Conservatory N. A. Rimsky-Korsakov?
4. What was the main feature of creativity A. K. Lyadov?
5. List the works of A. K. Lyadov known to you.

List of works A. K. Lyadova:
For the orchestra: "Baba Yaga", "Kimikor", "Magic Lake", "Amazon Dance", "Sorrow Song", etc.
For piano: "Biryulki", "Arabesque", "About Starin", "Idyll", play, prelude, waltza.
For the choir and Cappella: "10 Russian folk songs", "15 Russian folk songs", 10 arrangements from everybody and others.
For voice and piano: 18 children's songs on folk words, collections of folk songs, romances and much more.

Presentation

Included:
1. Presentation, PPSX;
2. Music sounds:
Works of Anatoly Lyadov:
Baba Yag. Picture to Russian folk tale, mp3;
Magic lake. Fabulous picture, mp3;
Kimair. Popular tale, mp3;
Music tobacco, mp3;
About old. Ballad for orchestra, mp3;
3. Accompanying article, DOCX.

Anatoly Konstantinovich Lyadov was born on April 30, 1855 in St. Petersburg (" somewhere on ohta", As he himself noted in an autobiographical note), in the family of musicians. The founder of the dynasty was Grandfather Anatoly, Conductor Nikolai Grigorievich Lyadov (1777-1839). Father Anatolia, Konstantin Nikolayevich Lyadov (1820-71), was a dropletaster of the Orchestra of the Imperial Russian Opera, as well as the composer. Mother - Ekaterina Andreevna, nee Antipova - died when the boy was about six years old. Anatoly since childhood was surrounded by music, his musical abilities and the public situation of his father predetermined the direction of his upbringing, and in 1870 he was adopted in the St. Petersburg Conservatory with a free student at his father's scholarship. In the conservatory of Lyadov, she studied for some time on a violin and piano, in the class of practical essay, he began to do N.A. Rimsky-Kororsakov, but for some time passes in the 1876th year was expelled from the conservatory, although it was immediately accepted back. It was in 1876 that Lyadov finished his first piano essay - "Biryulki".

In May 1878, the art council of the conservatory Lyadov was awarded a diploma of a free artist and a small silver medal, with the issuance after passing the exam from scientific items (which, however, I did not pass on it). In September of the same year, Lyadov was invited to a conservatory by the teacher of the theory of music. He was engaged in pedagogical activities until the last years of his life (among his most famous students - Sergey Prokofiev, Nikolai Messkovsky, Vladimir Shcherbachev, Mikhail Gnesin, Boris Asafiev, Nikolai Malko; in accordance with the recently discovered documents, in the class of Lyadova on Solfeggio and elementary theory Sergey Rakhmaninov was engaged).

At the same time, the conductor career began, although he got up for Lyad's console. From 1879, the composer took part in the activities of the St. Petersburg music mug of lovers as a conductor of the Orchestra and Choir (Mitrofan Belyaev, the patron, Impresario and the publisher, who soon became one of the closest Lyadov people played in this circle. The conductor of Lyadov continued at the concerts of a free music school, in publicly available symphonic concerts, founded by Anton Rubinstein in 1889, in Russian symphony concerts established in 1885 Belyaev,

In 1884, Lyadov married the hope of Ivanovna Tolkacheva, the young settled in the apartment number 10 No. 52 in Nikolaev Street (now - Marata Street) in St. Petersburg, where Lyadov lived until the end of his life. Soon the children were born in the family: Mikhail - in 1887, Vladimir - in 1889 (died during the Leningrad blockade in 1942).

By the end of the 1880s - the beginning of the 1890s, Lyadov took a very honorable place in the Russian musical world, enjoyed respect from not only composers of the "mighty bunch" (with which he was close), but also from her critics, as well as others Russian musicians - A.G.Rubinshtein, P.I. Tchaikovsky, S.I. Taneyev. Mitrofan Belyaev took a special place in Lyadov's life, they were associated with very warm friendships and mutual respect. Lyadov (together with N.A. Rimsky-Korsakov and A.K.Lazunov) was one of the main musical consultants of Belyaev. Belyaev rendered great moral support to Lyadov, published his writings, and after the death of Belyaev in 1903, the composer received a retirement on his will, which became some help for him.

By the end of the 1880s, the life of Lyadova was quite a certain way (with minor changes, she remained so before his death) - in the winter he taught in the conservatory, sometimes he conducted by concerts, and was engaged in writing only in his free time, which was not so much. In the summer with the family of Lyadov, there lived a hingerist of the Borovic County of the Novgorod province. Among the favorite hobbies of Lyadov was reading books - not only the fiction (Russian and foreign), but also scientific work on natural science, philosophy, letters, memories, biographies.

In the summer of 1911, the composer began to experience unbearable pain - these were the first symptoms of his disease - myocarditis and sclerosis of vessels, as well as kidney disease. Lyadov was prescribed a cautious lifestyle, and the composer became almost a hermit in his apartment, only occasionally visiting the conservatory. Twice he traveled for treatment in Kislovodsk. Large upheavals, finally broken health, Lyadov became the unexpected death of a close friend of Vladimir Avdeev in January 1914, and see the army of the eldest son Mikhail in the summer of the same year. The last days the composer did not eat anything, did not sleep, he suffered from heartbeat, but did not lie down, but he sat in his chair. About seven o'clock in the evening of August 15, 1914, Anatoly Konstantinovich was not ...

Among the whole musical heritage of the composer (67 numbered empty and about two dozen non-numbered), works for the piano are about two thirds of the total number of writings. Symphonic works, vocal music, he made the processing of Russian folk songs, were also written symphonic works. But after all, the number of less created works is less than in many other composers. The reason for such small productivity lies against Lyadov to art, to music.

Here we would like to refute the legend about Lyadov. This legend appeared in the life of the composer, and then multiplied with numerous publications up to the present day, including in the reviews on CDs and even in annotations to CDs. Such an opinion about Lyadov comes from the misunderstanding of how I composed on Lyadov. He was completely definitely not a lazy man, and his everyday (for many years!) Employment at the pedagogical field in the conservatory confirms this. Earning to life lessons, Lyadov rejected any attempts to material support from his friend, Mitrofan Belyaeva, who wanted Lyadov to leave teaching and focused on the composition. But to compose, Lyadov should have been free from any material obligations! In his letter to Belyaev Lyadov wrote: "My dear, dear Mitrofan! .. I have a big request for you: a dove, be a real friend, Cut somehow so that I don't have to talk about money with you - for me it's such a terrible torment! Pay for my writings that you want, I agree to everything ... still please: please do not pay me more than others ... ". The real reason for the small productivity of the composer - in relation to Lyadov to musical art. He himself left the following lines in letters: " How not to adore, do not learn before the art? ... Only art awakened in the beasts of people, and people pointed to the "Spirit" and "Heaven"; "My ideal: Find an unearthly"; « The whole essence is in art, the whole point is in the victory of "Spirit" above the "belly", the whole point is in the recognition of "beauty" as the only queen of the whole world" Ladov's real friends knew about such a relationship. So, Belyaev wrote to him: " Dear and the best of my good friends! I appreciate you high for your perfect views on art" According to Viktor Valter, " the art was for Lyad's most sacred from all existing ... Beauty generally and musical beauty, in particular, were for Lyads by the Divine, which gave meaning, and with the only one, his whole life ... Lyadov could only create only internal needs».

Carefully studying the music of Lyadov, you know how thoroughness, accuracy and attention to every detail and every note they are created. In each Lyad Opus, we see a strict cleanliness of the work. Lyadov himself wrote about himself in one of the letters: " Such is the "Karaket": so to do to every tact pleased. Of course, with such a respect to Lyadov to music and the process of writing, which demanded a lot of time to create a complete work, the amount of composer created is not so large.

It should be noted that almost all the works of Lyadov have initiations - teachers and colleagues, close friends and relatives. The composer was recognized: " And I introduced me: Well, if you die that I love or who love me? Well, for what I will compose then? ". For Lyadov, it was very important to address music to specific listeners he loved and respected. But we can now get acquainted with real masterpieces.

Anatoly Konstantinovich Lyadov

Anatoly Lyadov, born in 1855 in St. Petersburg, took place from a silent family of Russian hereditary musicians, consisting of up to ten representatives. Contact from early childhood with a musical and theater environment has a beneficial effect on the development of a boy's abilities, which, having access to the opera house at any time, sometimes participated in performances as a statist.

After a short training game on the piano under the leadership of one of the relatives, he came at the age of twelve in a conservatory. Here he was first on the classes of piano and violin, then moved to the theoretical department, where his teachers were Roman-Korsakov and the famous theoretics of Yu. I. Johansen.

Anatoly Konstantinovich Lyadov

The youth is peculiar to carelessness, and, probably, therefore Anatoly did not pay enough attention to educational activities. When he was already in the last year, permanent passing of lessons forced Rome-Skogo-Korsakov to exclude it from its class, which, however, did not prevent the friendship between the teacher and the student began soon. This communication with a great composer and other members of the "mighty bunch" contributed to the further creative growth of Lyadov.

In 1876, the works of Lyadov - 4 romance and the Biryulki cycle, which is a collection of 14 miniature piases for piano, of which the first and second on the role of the final are based on the same musical material.

Two years later, a young man is again credited to the conservatory and brilliantly finishes it in the spring of 1878, after which his pedagogical activity begins in the walls of a native educational institution. In 1879, he tries his strength and as a conductor: for several years he is led by an amateur orchestra.

Characteristic features that distinguish the creativity of Lyadov decided almost from his first steps on this field. Starting with "Biryukle", it focuses on the genre of piano miniatures on over 20 years and only in rare cases refers to orchestral and vocal essays.

Meanwhile, Lyadov attracted both nationally fabulous images that were most brightly embodied in his later symphony. For many years, the composer wanted to write a fabulous opera "Zoryushka" to the plot of the play V. I. Daly "Night at the crossroads", but the long breaks were made to fulfill this dream, then the case arising for one or another reasons in the work on this product. The music written for the opera was partially used by Lyadov in the symphony picture "Magic Lake" and in some other works.

In the early 1990s, Lyadov creates several interesting works, including the "Music Tobackerka" play and an essay called "About Starin". The latter is a software play, inspired by the patterns of folk creativity and such works of the Russian musical classics, as the first accordion song from Ruslan and Lyudmila Glinka, the slow part of the "Bogatyr Symphony" of Borodin.

The connection of the play "About Starin" with the folk epic genre is also manifested in some features of the formation. A large place in it is given to the introductory, transitional, binding and final sections. All this causes a typical exposure to the works of the epic genre.

At the beginning of the 1900s accounts for most of the Ladovsky harmonies and the treatments of folk songs. Their emergence was associated with the proposal of the Russian Geographical Society of the Russian Geographical Society, assembled in folk expeditions. The bulk mass is harmonized for one vote with piano, the rest - choral editors of songs from one-haired collections. A special type of processing is a kind of vocal orchestral suite "Five Russian songs for a female voice with an orchestra."

According to its harmonization, the composer sought to deepen the musical and poetic image and genre specificity of the songs. In lyrical songs, he emphasizes the breadth of their melodic respiration, in the dance, dance - a clear rhythmic basis. Inherent to some songs, the calm clarity of Lyades sometimes deepened the use of high register and the introduction of short niy-tool-tool character, as if reproducing the sound of folk instruments - horns or regrets.

However, it should be noted that the vocal genre as a whole attracted Lyadov, although there is an outstanding achievement in his work - children's songs, whose tests are folk jokes, funny schools that are sometimes of two lines. Among the 18 children's songs there are and full humor playful comic, and gentle-lyrical lullabies, and old folk spells. At the same time, the song "oblique demon" should be highlighted, in which the images of the later symphony works are anticipated.

Closed from nature, Lyadov avoided social speeches, but the revolutionary events of 1905, which was reflected in student unrest in the conservatory, touched him. In protest against the dismissal of the Roman Corsakov, who took the party of youth, Lyadov left this year in the same year. Together with the advanced Petersburg professor, Lyadov defended at the time for the conservatory autonomy, which implied the independence of the bureaucratic care on the part of the Directorate of the Russian Music Society. In the conservatory, Lyadov returned only after her director was chosen glazing, as well as in this school he began to teach Roman Korsakov again.

In subsequent years, Lyadov works mainly in the symphony region. The most valuable software symphony works in one form or another of the lives created by him during the last decade of life are associated with folk creativity and the traditions of Russian classics. Their content comes down either to the "portrait" sketch of a fabulous character, or to the musical landscape ("Magic Lake"). Of the three main "fabulous pictures" referred to the plot of "Baba Yaga" and "Kimor". These are musical characteristics of images that embody an evil start. Hence the gloomy, somewhat ominous flavor of both works. Moreover, the "evil" images are obtained from Lyadov enough grotesque. This circumstance, in combination with the rapid, rapid movement and the acute characteristic of rhythms, brings together both works with the genre of Scherzo.

Another nature is inherent in the "Magic Lake" play, which the composer considered one of his most successful works. It was about him that he wrote such lines: "Oh, how I love him! How it is picturesque, clean, with stars and mysteriousness in the depths! "

The colorful start, the accuracy of the images determined the specifics of expressive funds in the "Magic Lake". This is, first of all, the lack of clear thematism with a huge meaning of harmony, texture, timbre. As a unifying element, there is mainly "background" movement: a peasant drawing of strings, vibrating tremolo, trill.

The "Magic Lake" orchestra is one of the highest achievements of Lyadov orchestral skill. The overall timber color is obtained from a combination of rustle and rustling stringed with surdines, gently ringing challenges harp, Cheesets. At the same time, the sound of music is mainly limited by the shades of Piano and Pianissimo, only for a short moment reaching the "Forte".

A relatively larger symphonic work - "Eight Russian folk songs for the orchestra" - represents Suite from a number of miniatures, and each of them in itself is a bright model of a particular People's Song genre.

Excerpt from Prelude Si-Minor A. K. Lyadova

Suite opens an archaic spiritual verse. The second part of the cycle is also the calendar-ritual binding song "Kolyada Malen" ascending ancient times (two different collage pit taken into this part). The third part is a lyrical "extended" - an excellent sample of a wide folk disposal. The leading importance here is the string, while the initial statement of the song in some cello, divided into four parties, is perceived as the sound of a male choir. The full opposite of the "extended" is the fourth part, which is a comic cheerful People's Skierzo called "I and Komarik dance". All this part sounds in a high register of wooden winds on a light background of strings. Trelli violins at the beginning and at the end of her worship the mosquito buzz. In the fifth part - "The epic beginning, humor and fiction element were awakened. Both of the following parts are two small intermediates, opposed to each other: This is a gentle lyrical "lullaby" and a carefree-cheerful "dance". Suite ends the largest in the volume of the eighth part - "dance" - a bright genre picture of popular festive fun.

In the 1900s, they are felt in the work of the composer and new trends: so, the symphonic suite "legends" arose under the influence of the music of the Belgian playwright-symbolist M. Meterlinka, but this work of Lyadov did not finish, and the only one whole part of the suite was published under the name "Sorrow Song.

The last months of the composer's life was overshadowed by a severe illness, which forced him not to leave his home and restricting his communication with the world to a minimum. Lyadov died in 1914.

Listing the largest representatives of musical art in the breadth of phenomena and the depth of their reflection, Lyadov, nevertheless made a considerable contribution to the development of Russian music. It should be noted that it was he who was the first to approve in Russian music a prelude genre, after a while he received further development in the work of Scriabin and Rakhmaninov. With its program symphonic miniatures, Lyadov was able to create a very independent branch in Russian Simphonism. Unique in its kind and magnificent children's songs of the composer, as well as its processing of folk songs, rightfully standing in one row with the classical People's Song processing of Balakirev and Rome-Skog-Korsakov.

Anatoly Konstantinovich Lyadov (1855-1914) Anatoly Lyadov was born on May 11, 1855 in St. Petersburg. Lyadova's life is connected with this city, with his artistic environment. The leaving from the family of professional musicians, he grew up in the artistic world. An excellent school for him was